10

It may or may not be a well known secret, but if you hold down all 3 modifier keys (cnrl, option,command), then click file > bounce to QuickTime movie - you get a hidden menu that allows you to compress and bounce to many different formats!!!!! Why would they hide this? NO IDEA....


6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


6

Great question! It's encouraging to see that sound people are still thinking outside the "plug ins" box. The concept of using outboard gear in an attempt to alter your source material is certainly worth pursuing, and what you would capture might indeed be something quite special and unique. I wholeheartedly recommend that you undertake the effort! Bear in ...


5

Even floating point numbers can clip and degrade. If I'm mixing, I prefer 64bit floats if available, but I use mostly analogue gear now .. so the mixing happens outside of the digital domain. I do have some software I wrote to automagically remix music.. the jazz-o-tron 1000. Internally it uses 80bit IEEE samples (YES, 80.. its not a typo).. but I only use ...


5

The difference between clip gain and volume automation is basically INPUT volume and OUTPUT volume. Clip gain is the input volume. This data is read and taken into account before insert effects, sends, volume automation, eft. Here are two examples : if you crank up the clip gain you could potentially clip your audio. If it Wasn't clipping while you were ...


5

http://www.mixcoach.com/common-dae-errors-and-their-causes/ Official FAQ about troubleshooting DAE Errors: http://avid.force.com/pkb/articles/en_US/FAQ/en363439


5

is ABSOLUTELY necessary to record at 48 kHz that's not for film where the final audio will be bounced to 44.1 format anyway? We know that at 44.1kHz we can accurately record and playback the frequencies that live in the human hearing threshold, so oversampling might seem an overkill. Most of the time this is the case, but some scenarios can benefit from ...


4

Max/MSP's Convolution is alright and also SoundHack has some awesome Mutation and convolution processes.


4

Pro Tools is too strong of a brand name to disappear. Avid could die, but another company will buy Pro Tools. It could be better, worse, or the same as before. Yamaha bought Steinberg several years ago and I honestly don't think much has changed. Oh, and Disney bought Star Wars....


4

Creating Track Presets in Protools 10 1) Go to Applications > Avid > Pro Tools. Here, create a folder titled "Track Presets". you can also create folders within "Track Presets" for different categories (ex: Reverb, Master bus, Virtual instruments and so on) 2) Create a new track in a blank project and configure the track to your tastes (inputs, outputs, ...


4

shift scroll side to side woohoo!


4

Open the PT Shortcuts Guide PDF, then unplug the mouse and take it with you. Nothing made me faster with basic keyboard shortcuts than being 100% unable to reach for the mouse.


4

10.8 is a very polished OS but not all of its bugs have been ironed out. 10.6.8 is the last iteration of a still very mature OS that hasn't got the latest and greatest software you most likely wouldn't need. The performance of both, regarding audio, is roughly the same. However the stability of audio software that relies on older APIs (Pro Tools and Logic ...


4

It is a constraint of the OMF format and/or the video editor it came from. One of the first things I do is move them onto stereo tracks in Pro Tools. In fact I have a set of template sessions, so I will open the most appropriate template session, then import the OMF into my template onto new tracks rather than open the OMF directly in Pro Tools. Then move up ...


4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


4

It seems to me that a good choice would be a Nagra tape recorder, which was a recorder very much used starting in the 1950's until digital recording took over in the 1980's and 1990's. While this technology would be significantly better than the optical soundtrack you'd find in the 1930's, I think it would be a pretty flexible option. Since Nagras are ...


4

It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules. I tend to default to EQ/DYN/De-es/multiband but everyone is different. Sometimes you might need 2 of certain processes, 1 to fix an issue, ...


4

As a possible side bar to the excellent answer provided by JCPedroza above, If human ears are the only listeners (i.e., signals between 20 and 20,000 Hz) then it is never* absolutely necessary to record at 48kHz. [H]e used an SM57 whose frequency range is 40 Hz to 15 kHz so it wouldn't really make a difference because in the oversampling calculation ...


4

Route the output of each track to another empty track. Record arm the destination tracks and then hit record. When the record pass is done all your effects and automation will be "printed" to the new tracks.


3

With Floating point all recordings are saved usually using fractional values only between -1 and +1 so like when you say -10 DB that will be related to 1.00 as zero Db. If you want to know the numerical value of -10 DB, it is like Log-1(-10 / 20), or by a calculator the answer is + or - 0.31622776. NOW, since there are no A/D converters with greater ...


3

if i have a long sound file with a lot of little transients that I want to isolate and use all at once I do the following: 1) spot the long file to a track in protools 2) use strip silence to isolate the transients and remove all of the whitespace. I usually set the minimum strip duration to zero and use very small start and end pads. Then set the ...


3

Thought of a couple to add to the mix: Empty Region Groups > Markers Since we're not blessed with multiple types of markers, I use empty region groups to spot foley, adr, make general notes, etc. and markers are left for working with sync or "Pick Up here". They're particularly useful to block out scenes. I create an audio track, switch the voice from "...


3

The way i work usually is that i open the OMF in a new session based on the template in pro tools. I separate and clean the OMF like sending all you sfx to your template sfx tracks or taking two mono tracks of the same thing and putting them on a stereo track etc... Afterwards i delete all unused tracks and i do a "save copy in" and rename the project ...


3

This refers to a drive error... Make sure that you are not using a USB hard drive and that you're internal HD runs at 7200rpm. If you're internal drive is fast enough and you are not using a USB external, maybe try and repair disk permissions in disk utilities if you're using a Mac, not too sure how you do that on a PC. There are also other errors and ...


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